论文部分内容阅读
(一)虚静得雅韵,伫兴天然成魏晋以降的山水画论,为王维开创文人绘画观念奠定了理论基础。王维首创水墨写意画风主要是以山水画为媒介来实现的。魏晋时代是玄学的时代,魏晋的士大夫们以玄对山水,迷恋于山水以领略玄趣,追求与道融汇的精神境界可以说是这一时代的主流。在这种社会背景之下,随着山水诗、山水画的出现,山水画论也应运而生,而首当其冲的是宗炳的《画山水序》。在这篇中国第一篇山水画论当中,自然地渗透了玄学精神,把老庄“道”的精神纳入山水画之中。
(1) The art of vainness, the natural landscape painting of Wei and Jin Dynasties, which laid the theoretical foundation for Wang Wei to create the concept of literati painting. Wang Wei’s first ink freehand style is mainly based on landscape painting as a medium to achieve. The era of Wei and Jin dynasties is metaphysical era. The scholars and scholars of the Wei and Jin Dynasties regarded the landscape as the metaphysical, the infatuated with the mountains and rivers for a taste of the metaphysics, and the spiritual realm for pursuing harmony with the Tao can be said to be the mainstream of this era. In this kind of social background, with the appearance of landscape poems and landscape paintings, the theory of landscape painting came into being as well. Zong Bing’s painting landscape was the first to be affected. In this first theory of landscape painting in China, it naturally permeated the metaphysical spirit and incorporated the spirit of Lao-Zhuang “Tao ” into the landscape painting.